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My old friend and fellow poet Bill Tremblay has written the libretto for this “operatic musical,” and in response to an email from me had this to say:
Although many Salem women and some men were put to death in the midst of mass hysteria, Previn as composer and I as librettist don’t indulge in creating evil characters. The Rev. Parris, e.g., is a recent widower who feels adrift without the anchor of his wife. When his daughter Elizabeth comes down with a fever Dr. Griggs can’t diagnose he concludes that it’s a case of witchcraft which he tries to protect her from. Margaret Scott, the female lead, is a young woman lately come to Salem to start a new life. She’s in my view the focus of the drama; she’s the only one with a definable “character arc.” She goes from a newcomer, shy, timid, to a person who admires Bridget Bishop, a strong, independent woman hated by the village women because she runs a tavern. They accuse her of “turning [their] husbands into swine.” “Not hard to do,” Bridget quips. Meanwhile, young Richard Saltonstall lately returned from King Philip’s War and the Sheriff vie for Margaret’s affections. By the time Margaret has fully identified with Bridget she rebukes the townspeople and is arrested herself. The whole thing ends on Gallows Hill.
I hope one day Bill publishes the libretto. It sounds like something to read alongside The Crucible, since the country seems intent on reliving the McCarthy Era.
I've known of John Bradley for quite a number of years, and we've become friendly acquaintances during the past couple of years. I like his poetry, also a couple of anthologies he's compiled. (Full disclosure: one poem of mine is in one of the anthologies.)<br /><br />Have also met Ray Gonzalez several times — he teaches (last I knew) at the U. of Minnesota here in Minneapolis. Once
Do you have that email? as I am working on another new book…<br /><br />The Collected Emails of Ed Baker<br /><br />which will be LULU produced just after my<br />Collected Blog Comments of Ed Baker<br /><br />NOW: I emailed you in 2006? I don't re:call much after my 2003 stroke … July 15, 2003<br /><br />and as far a "corresponding" with you or anyone else…. what I write
Ed! There's no reason you would or should know me. No apologies for being out of it necessary. But are you sure you haven't fallen on your head again since 2006, or so? Because you wrote me a nice email about four years ago, telling me you liked my work and wanted to correspond with me! Or maybe you did that right after you fell on your head again. <br /><br />No matter. Either way is
say Hey kent … I dropped out 100 %<br />around 1974<br /> &fell on my (head] when I dropped back in..<br /> in 1998<br />so<br /><br />ALL of this is new to me the Names the Schools don't "know" Jim Bradley… <br /><br />either … or you, for that matter .. or does it?<br /><br />in fact<br /> my
Well, if it was Ray Gonzalez, then I'm sure that would have been John. They've long been good pals.
I know John's work (and agree with you about it) but have never met him. I think! There's a vague memory from way back around a poetry conference Ray Gonzalez put together in Denver back in … damn, the early 80s?
Bill Tremblay is a good friend of my good friend and great poet John Bradley. They have collaborated on some things before. Do you know John Bradley, Joe and Ed? One of the authentically, obscenely underrated poets in America.
HOLY &SACRED CRAP, BATMAN!<br /><br />Bill Trembaly! The second or third book that I ever stole from […]<br /><br />was/is Tremblay's 1971:<br /><br />CRYING IN THE CHEAP SEATS<br /><br />which opens/unfolds with:<br /><br /> "There is only one endless poem.<br /><br />In the endless poem<br />there is a house reared<br />in ecstasy whose walls are<br /><br /><br /